The Wretched is a watchable, teen-centric horror with standout practical effects. While the plot is underdeveloped, it offers a fresh twist on witch folklore.

No One Gets Out Alive is a middle-of-the-road haunting with a unique social hook. A gritty look at the immigrant experience that sinks under generic horror tropes.

Happy Death Day is a riotous blend of slasher thrills and time-loop comedy. A fresh, energetic whodunit that breathes new life into the teen slasher genre.

Killing Ground is a visceral, mean-spirited entry into the Australian survival-horror genre. A bleak and brutal experience that prioritises shock over substance.

Read our review of 14 Cameras (2018). Gerald the slumlord returns in this voyeuristic sequel that trades the original’s tension for messy slasher cliches.

13 Cameras taps into the very real fear of hidden surveillance. While Neville Archambault is terrifyingly creepy, the film eventually sinks under farcical logic.

Jamie Patterson’s Fractured is a game of two halves. While hampered by a cringeworthy script and dark lighting, its mid-movie twist breathes new life into a rote thriller.

Actor and Director Clayton Thompson gets lost in the woods and, unfortunately, someone found the footage. We review an incredibly dull survival horror – The Nothing (2018).

Michael O’Shea’s The Transfiguration is a bleak, urban reimagining of the vampire myth. A slow-burn drama that balances grit with a disturbing coming-of-age story.

Read our review of Uninhabited (2010). A beautifully located Aussie horror that fails to deliver suspense, tension, or believable lead chemistry.

Annabelle Comes Home is the cinematic equivalent of a haunted house attraction. A shallow but highly entertaining jump-scare fest that revisits the Warrens.

Ari Aster’s Midsommar is a staggering visual achievement. A sun-drenched, visceral relationship drama masquerading as folk-horror that explores the agony of grief.